“水墨40年”参展作品 | 1978-1989 (贰)
北京民生现代美术馆 2019年01月14日 18:16

新中国画

New Chinese Painting

第一单元:1978-1989年 (2)

Chapter I: 1978-1989 (2)

这是一个新启蒙的时代。对文革美术的反思与西学启蒙思潮的相互激荡,引发出新潮美术的浩荡洪流。这一时期,围绕着中国画的传统、现状、前途与命运展开了激烈的论辩,史称“20世纪中国画第三次大论辩”。依托于这个背景,新中国画从文革模式中超越而出,借助于西方现代艺术的形式主义成果,开始了新的变革历程。从国家意识形态回到个人立场,在本体层面上探索、建构中国画的现代形态,是此一时期新中国画发展的大体趋势。同时,以家国情怀为核心的现实主义创作仍在继续,与此前不同的是,现实主义的创作方法、视角、题材、语言都发生了根本性的变化,新中国画的风格、气象也由此一变。上述革命性的转向,不仅改变了新中国画长期以来的单一的写实面貌,也为下一阶段探索做了很好的铺垫。 (张晓凌)

This is a new era of enlightenment. Reflections on art during Cultural Revolution were clashing with western enlightenment movement, inducing a grand new trend of art development. During this time, there were heated discussions over the tradition, status, future, and prospect of Chinese painting, which is historically known as “the third grand debate over 20th century’s Chinese painting”. Against this background, new Chinese painting rose above the Cultural Revolution mode and entered into a new phase of development with the influence of formalism in western modern art. Returning from state ideology to individual perspective and exploring and constructing Chinese paintings’ modern forms on an ontological level were the mainstream for development of that time. Meanwhile, realism revolving around patriotism was also developing. Contrary to previous period, this realism underwent fundamental changes in its creation method, perspectives, themes, and language, which resulted in an overall change in the style and mode of new Chinese painting. The above revolutionary transformation not only changed the long-standing monotonous realism tone in new Chinese painting but also set a good foundation for the exploration in the next stage. (Zhang Xiaoling)

魏紫熙《王维诗意图》纸本水墨 136cm×68cm 1979魏紫熙《王维诗意图》纸本水墨 136cm×68cm 1979

潘絜兹《文天祥像》纸本水墨 157cm×84cm 1981潘絜兹《文天祥像》纸本水墨 157cm×84cm 1981

张仃《玉屏楼》纸本水墨 136cm×68cm张仃《玉屏楼》纸本水墨 136cm×68cm

程十发《屈原》纸本水墨 91cm×47cm 1979程十发《屈原》纸本水墨 91cm×47cm 1979

赵无极《无题》纸本水墨 102cm×104cm赵无极《无题》纸本水墨 102cm×104cm

黄永玉《秋意》纸本水墨 136cm×68cm黄永玉《秋意》纸本水墨 136cm×68cm

黄胄《织网图》纸本水墨 70cm×45cm 1978黄胄《织网图》纸本水墨 70cm×45cm 1978

周韶华《黄河魂》纸本水墨 62×95cm 1981 中国美术馆藏周韶华《黄河魂》纸本水墨 62×95cm 1981 中国美术馆藏

周昌谷《版纳风情》纸本水墨 45.5cm×31.5cm 浙江美术馆藏周昌谷《版纳风情》纸本水墨 45.5cm×31.5cm 浙江美术馆藏

杨之光《儿子》
纸本水墨 186cm×128cm 1983 广东美术馆藏杨之光《儿子》 纸本水墨 186cm×128cm 1983 广东美术馆藏

方增先《家乡板凳龙》
纸本水墨 235cm×235cm 2002方增先《家乡板凳龙》 纸本水墨 235cm×235cm 2002

韩羽《戏曲人物》
纸本水墨 141cm×38cm 中国国家画院藏韩羽《戏曲人物》 纸本水墨 141cm×38cm 中国国家画院藏

新水墨

New Ink

第一单元:1978-1989年 (2)

Chapter I: 1978-1989 (2)

此一时段中,很多艺术家面临的重要艺术问题是:在粉碎“四人帮”以后,如何有效超越“文革”式的极左创作模式、传统水墨的创作模式与由徐悲鸿创立的写实水墨的创作模式,以实现水墨创作的现代性转换。资料表明,当时很多艺术家的策略是将传统水墨的线墨表现体系与西方现代主义的观念或表现元素相嫁接,结果出现了很多新的解题方案与相关作品。具体说,很多作品,无论是在题材与观念方面,还是在图像、构成与笔墨表现方面都有全新的探索。(鲁虹)

In recent years, many artists are faced with a critical question of art: after the crushing down of “Gang of Four”, how can we effectively go beyond the creation mode of leftist Cultural Revolution time, of traditional ink painting? How can we go beyond the realistic ink painting school established by XU Beihong to enable a transition of ink painting into modernity? According to relevant documents, many artists were trying to marry the line and ink presentation system in traditional ink painting, with notions and presentation elements in Western Modernism, and numerous new solutions and new pieces of work have been emerging as a result. To be more specific, many works were showing brave new explorations in various aspects including image, construction, and stroke treatments, etc.(Lu Hong)

王川《1985NO.20》纸本水墨
136x54cm 1985 千高原艺术空间藏王川《1985NO.20》纸本水墨 136x54cm 1985 千高原艺术空间藏

谷文达《静则生灵 印刷体书法遗失的王朝系列宣纸墨纸背木板装裱》
274.5cmx720cm 1984-1985谷文达《静则生灵 印刷体书法遗失的王朝系列宣纸墨纸背木板装裱》 274.5cmx720cm 1984-1985

杨诘苍《千遍书》
墨宣纸有绫边 158.5cmx176cm 1986杨诘苍《千遍书》 墨宣纸有绫边 158.5cmx176cm 1986


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